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Chapter VIII
I couldn’t sleep all night; a fog-horn was groaning incessantly on the Sound, and I tossed half sick between grotesque reality and savage frightening dreams. Toward dawn I heard a taxi go up Gatsby’s drive and immediately I jumped out of bed and began to dress–I felt that I had something to tell him, something to warn him about and morning would be too late.
- fog-horn : ‘霧笛무적’ 혹은 ‘안개 경적’이라고 번역. 크고 깊은 소리를 내는 장치. 안개가 낀 날씨에 선박이나 해안에서 매우 큰 소리로 위험을 알리는 경적 또는 그 장치를 의미한다. 주로 시야가 나쁜 안개, 비, 눈 등으로 인해 선박끼리 충돌하거나 암초에 부딪히는 사고를 방지하기 위해 사용된다. 비유적으로도 사용되는데 주로 목소리가 매우 크고 우렁차거나 거칠게 들릴 때 사람을 묘사하는 데 쓰인다. 즉, 누군가의 목소리가 너무 커서 주위 사람들이 모두 들을 수 있을 때 “foghorn voice” 또는 “like a foghorn”이라고 표현할 수 있다. 이 작품에서는 뭔가 불길한 일이 일어날 것 같은 강력한 분위기를 암시한다.
소리 : 霧笛무적과 자동차 엔진 소리. 무적에 잠을 설치고 자동차 엔진 소리에 일어난다.
grotesque reality and savage frightening dreams : 현실은 머틀의 죽음과 개츠비가 대신 벌을 받으려고 하는 것, 꿈은 이러한 혼탁한 세상에서 돈을 벌어 부자가 되기 위해서 회사를 다니면서 꿈꾸는 것.
Crossing his lawn I saw that his front door was still open and he was leaning against a table in the hall, heavy with dejection or sleep.
“Nothing happened,” he said wanly. “I waited, and about four o’clock she came to the window and stood there for a minute and then turned out the light.”
- turned out the light : 데이지와 개츠비 사이에는 무슨 일이 있으면 불을 껐다가 다시 켜기로 약속했는데 그냥 불이 꺼졌으므로 별일이 없었다는 뜻이다. She’s locked herself into her room and if he tries any brutality she’s going to turn the light out and on again.(173:7-9)
His house had never seemed so enormous to me as it did that night when we hunted through the great rooms for cigarettes. We pushed aside curtains that were like pavilions and felt over innumerable feet of dark wall for electric light switches–once I tumbled with a sort of splash upon the keys of a ghostly piano. There was an inexplicable amount of dust everywhere and the rooms were musty as though they hadn’t been aired for many days. I found the humidor on an unfamiliar table with two stale dry cigarettes inside. Throwing open the French windows of the drawing room we sat smoking out into the darkness.
pavilion : 대형천막(공원 안의 쉼터, 공연장 등으로 쓰이도록 아름다움을 강조해서 지은 물건) * 커튼의 호화로움과 육중함을 전달한다.
humidor
ghostly piano : 5장에 ‘하숙생’이라 불리는 Mr. Klipspringer가 데이지, 닉, 개츠비 앞에서 운동복 차림으로 피아노를 치면서 “The Love Nest”라는 노래를 부른데, 닉은 그 장면을 떠올리면서 피아노를 ghostly하다고 표현한 것으로 보인다.
“You ought to go away,” I said. “It’s pretty certain they’ll trace your car.”
닉은 개츠비가 운전하지 않은 것을 알고 있지만, 데이지를 위해서 개츠비가 운전했다고 할 것이라는 생각이 굳어져서 그 생각을 바꿀 수는 없다고 판단하고 도망하라고 권하고 있다.
“Go away now, old sport?”
“Go to Atlantic City for a week, or up to Montreal.”
- Atlantic City : 1920년부터 1933년까지 시행된 금주법(Alcohol Prohibition)에도 불구하고, Atlantic City는 법 집행이 느슨해 술이 자유롭게 유통되는 ‘와이드 오픈 타운(wide open town)’으로 유명했다. 관광업에 의존하는 지역 경제와 해안 입지 덕분에 밀주, 밀수, 불법 도박 등이 성행했고, 조직범죄와 정치적 부패가 뒤섞인 독특한 분위기를 형성. 연극, 쇼, 미인대회(1921년 첫 Miss America 개최) 등 다양한 오락과 행사가 열림.
Montreal : 1920년대 몬트리올은 급격한 변화와 활기찬 도시 문화가 공존하던 시기였다. 이 시기 몬트리올은 금주법(1920~1933년)의 영향으로 미국에서 술과 도박을 즐기려는 사람들이 국경을 넘어 몰려들면서 ‘죄악의 도시(Sin City)’라는 별명을 얻었다. 이로 인해 밤문화와 유흥산업이 크게 발달했고, 미국 관광객들에게 개방적이고 자유로운 분위기의 도시로 인식되었다.
He wouldn’t consider it. He couldn’t possibly leave Daisy until he knew what she was going to do. He was clutching at some last hope and I couldn’t bear to shake him free.
clutch : If you clutch at something or clutch something, you hold it tightly, usually because you are afraid or anxious. / 기어 조작을 위해서 클러치를 밟다
It was this night that he told me the strange story of his youth with Dan Cody–told it to me because “Jay Gatsby” had broken up like glass against Tom’s hard malice and the long secret extravaganza was played out. I think that he would have acknowledged anything, now, without reserve, but he wanted to talk about Daisy.
개츠비가 Dan Cody와 함께 했던 시절의 이야기를 해준 것이 지금 이 시점이라는 것이다. 톰과 말다툼을 하면서 개츠비에 정체에 대해서 의심을 가지게 되고 모든 것을 믿지 못할 지경에 이르렀을 때 개츠비가 자신의 과거에 대해서 닉에게 털어놓았다는 것이다: He told me all this very much later, but I’ve put it down here with the idea of exploding those first wild rumors about his antecedents, which weren’t even faintly true. Moreover he told it to me at a time of confusion, when I had reached the point of believing everything and nothing about him. (121:28-122:4)
- extravaganza : 화려한[호화로운] 오락물, 狂想曲광상곡
She was the first “nice” girl he had ever known. In various unrevealed capacities he had come in contact with such people but always with indiscernible barbed wire between. He found her excitingly desirable. He went to her house, at first with other officers from Camp Taylor, then alone. It amazed him–he had never been in such a beautiful house before. But what gave it an air of breathless intensity was that Daisy lived there–it was as casual a thing to her as his tent out at camp was to him. There was a ripe mystery about it, a hint of bedrooms upstairs more beautiful and cool than other bedrooms, of gay and radiant activities taking place through its corridors and of romances that were not musty and laid away already in lavender but fresh and breathing and redolent of this year’s shining motor cars and of dances whose flowers were scarcely withered. It excited him too that many men had already loved Daisy–it increased her value in his eyes. He felt their presence all about the house, pervading the air with the shades and echoes of still vibrant emotions.
- desirable : (1) Something that is desirable is worth having or doing because it is useful, necessary, or popular. (2) Someone who is desirable is considered to be sexually attractive.
ripe mystery : 농익은 것은 이제 곧 떨어질 것이라는 의미를 내포한다. 조단은 뉴욕 50번대 거리 오후의 분위기를 묘사하면서 overripe라고 표현한 적이 있다: “Those big movies around Fiftieth Street are cool,” suggested Jordan. “I love New York on summer afternoons when every one’s away. There’s something very sensuous about it–overripe, as if all sorts of funny fruits were going to fall into your hands.”(150:7-12)
lay in lavender : (훗날에 쓰기 위해) 소중히 보관하다 / (옛날 의미) 옷이나 물건을 라벤더와 함께 보관하다: 라벤더는 향이 강해 옷이나 천을 신선하게 보관하고 해충을 막기 위해 사용됨. 그래서 "lay in lavender"는 물건을 잘 보관한다는 뜻이 있음. / (옛날 의미) 시신을 매장 준비하다: 과거에는 시신의 냄새를 가리기 위해 라벤더를 뿌리곤 했기 때문에, "lay out in lavender"는 시신을 매장 준비하는 것을 의미하기도 함.
But he knew that he was in Daisy’s house by a colossal accident. However glorious might be his future as Jay Gatsby, he was at present a penniless young man without a past, and at any moment the invisible cloak of his uniform might slip from his shoulders. So he made the most of his time. He took what he could get, ravenously and unscrupulously–eventually he took Daisy one still October night, took her because he had no real right to touch her hand.
- invisible cloak : 군복무 중인 개츠비의 군복이 그 이전의 삶을 가려주고 있었다는 것.
- he made the most of his time : 군복을 입고 있을 동안에, 제대하기 전에, 자기의 정체가 드러나지 않는 동안에 데이지를 소유해야 했다는 것.
- one still October night, took her : 데이지와 성교를 했다는 의미. 데이지와 키스를 했을 때의 기분이나 상태를 자세히 묘사했었는데(133:26-134,19), 여기에 서술된 것은 첫 키스 이후의 이야기라고 볼 수 있다.
...One autumn night, five years before, they had been walking down the street when the leaves were falling, and they came to a place where there were no trees and the sidewalk was white with moonlight.
They stopped here and turned toward each other.
Now it was a cool night with that mysterious excitement in it which comes at the two changes of the year.
The quiet lights in the houses were humming out into the darkness and there was a stir and bustle among the stars. Out of the corner of his eye Gatsby saw that the blocks of the sidewalk really formed a ladder and mounted to a secret place above the trees–he could climb to it, if he climbed alone, and once there he could suck on the pap of life, gulp down the incomparable milk of wonder.
His heart beat faster and faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete. (133:26-134,19)
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